Taking the knowledge gained from reading ‘Production Sound Mixing’ forward, I did further research into booming on a film set prompted by Jessica’s mention of it in a previous lecture.
All in all, in order to be good at booming, you must be one of the most perceptive people on the set, staying aware of microphone capabilities, where the frame starts and ends and possible shadows or reflections.
In order to get the most natural sound, one must hold the microphone as close as they can to the person speaking without being seen in the frame of shot.
Borrowing a boom pole, Zoom F4 and shotgun mic from the kit room, putting it to the test in my own time, I quickly learnt how tiresome it can be holding it up for extensive periods of time, especially if needed to record audio during a wide shot. As a result I quickly learnt the correct ways in which holding the boom pole would relieve some form of stress from my arms, utilising height and also my shoulders.